rmilesmajorone2019

[rmilesmajorone2019]

Here is documentation of my installation presented on 21/01/2020. I have used a black magic camera and tripod for a detailed visual recording. Refer to previous video for sound.

The ripples in the water are dependent on movements and vibrations in the room, including the speakers, the projector and the audience. The speakers create stronger ripples at louder, more tense moments such as when she struggles under water. Otherwise the ripples are unpredictable. I like this small element of interactivity between the piece and the audience. It encourages them to be careful and attentive within the space. This enhances the connection and concentration towards this emotionally based piece. The physical closeness you have to the bowl and reflection on the wall, also heightens your emotional intimacy with it. It is positioned at your level which places the piece on a personal level.

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The video loops in the installation so the audience can watch it however many times they like. The loop also ties in with the idea of the circle and the circle of life. (Phone recording).

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This is my final film, which will be shown through the installation set up I’ve photographed. I have edited another brighter version for when I display it as an installation. This one is to refer to the film itself. I am going to film my installation when it’s set up again with a black magic camera. I will be able to use it for my portfolio and job applications.

[rmilesmajorone2019]

Statement:

On reflection, one of the most successful aspects of my installation is the circle; which ties in the themes of the circle of life, rebirth, the moon, the womb, fluidity, journey, connection and femininity. The layering of water reflections and images convey layers of the self, depth and the unconscious mind. The symbolism of water works well to suggest self-reflection, fluidity, and the contrasting dual qualities of water; a force for death and life. I’ve also used hints of fire symbolism. When she is drowning some of the yellow toned reflections are enlarged to mimic flames, inspired by Bill Viola and Terrence Malick. The combination of choices creates a fluid, soft, hypnotic and complex visual aesthetic which I enjoy, as well as creating meaning.

 I learnt a lot about directing and coming up with methods to draw out certain reactions from my actress, including describing the immersive feelings of the ‘flashbacks’ and ‘flashforwards’ she had to imagine in the water. I’ve developed skills in planning shoots, travel and directing crew. Strong organisation helped filming in unpleasant weather conditions in the dark more bearable for my crew. Also, practical elements like learning to project onto water using black ink and mapping. I decided I preferred the more organic shape and edges of the wall projection, and the layers of circles cast on the floor without the mapping. However, mapping will be an extremely useful skill for another project. I developed my editing skills through layering, key frames and light effects.

 In the context of the moving image world I see my piece being exhibited in a gallery on a slightly larger scale. Although it works as a small intimate piece. If I were to develop it with a larger budget, I would also use a stronger projection of light, so it’s as if the moon is beaming down on the water from above.

 I began by looking at Gothic Romance paintings. Then I was intrigued by luminous photographs by Lissy Elle Laricchia and ambiguous, distorted, poetic photography by Tristan Hollinsworth. As my project developed major influences concerning symbolism, themes and installation techniques include; Bill Viola, Terence Nance, Olafur Eliasson, Pipilotti Rist, Lennart Nilsson, Rebecca Horn, Tony Oursler, Takahiro Matsuo, Mimi Lien, Maya Deren and Peter Campus. In addition, films, filmmakers and cinematographers such as Moonlight, Woodshock, Terrence Malick, Peter Greenaway, Edward Lachman and Emmanuel Lubezki.

 By presenting my work as an installation, rather than a film, I have further utilised the circular element by projecting it onto a bowl so that the spectator can position themselves at different angles around it. It also brings a physicality to the piece which aligns with my themes, as opposed to appearing more digital. It’s allowed me to use actual water which introduces an unusual surface for a film to be seen on. I tested using a fan to manipulate the image to find it was too strong. The projector casts small ripples in the water which delicately manipulate the image, this projection is refracted on to the wall. This technique also provides two ways to watch the film and further illustrates the theme of reflection.  

[rmilesmajorone2019]

The loose narrative and structure of my film:

My piece expresses the idea of transcendence. Through montage and symbolism, I’ve constructed a loose narrative in which a bewildered young woman goes on a solitary walk at night. Whilst pondering her reflection in the sea, the water visualises an exploration of her inner self, including her past and future. As a hint of moonlight is immersed in the rippling water, surreal imagery portrays a memory of her struggling under water. She watches her memory, bringing back fear and distress. The visual develops into a fetus in the womb breathing in fluid. Seeing this for the first time could this be an image of her future? She hears the heartbeat and the soothing, trickling water sounds within the stomach, she feels as though she is the baby safe inside able to breathe again. The visions repeat once more as she processes what she’s seen. As she processes her trauma and is comforted by the future she gradually begins to light up, until she is a beacon of light, beaming in the darkness of night. She is shining with moonlight, transcended.

[rmilesmajorone2019]

Mapping and projecting a circle:

I learnt to map my projection to fit the bowl. This creates a perfect circle, in which the bowl has no lighting on the edges at all. This directs your focus only on the wall and makes the bowl less of a feature. After testing it with and without, I think it looks more interesting without the mapping. It creates circular shapes of light and shadow around the edges of the bowl which look more interesting, directing your attention so that you see the bowl aswel. it also formed a more organic circle on the wall. This imperfection and natural look to the circle highlights that it’s a water reflection rather than looking more like a normal projection with the mapping technique. It creates light lines around the projection reflected by the water. I have tested out the water when it is more dirty and the image could not be seen properly at all. So I made effort to keep it clean. There are some small black dots from dust etc seen in the projection which I think adds to the look of the organic, non-traditional way of showing a film.

I then started experimenting with cutting out different sized holes with black card to cover the rectangular light around the video that comes out the projector. After finding the right size I positioned it carefully so it looks a lot cleaner and there are no distracting misplaced shapes within my installation.

To show my installation I have securely taped down all wires so the audience can stand either side of the projector stand.

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Birling Gap shoot.

Here is my crew and actress whilst we were filming. As it was dark, wet and cold I brought extra clothes and blankets for them to wear, two suitcases for the equipment and an extra torch for light. It was good that I managed to get 3 other people on location for safety reasons too.

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Peter Campus - Three Transitions 1973.

I have looked into Peter Campus’ work for a previous project. For this project, I use movement in and out of the lighting, in the studio shots, to construct an interesting transition; her face fades in and out. It looks almost as if she is submerged in water and then pulls her face out of it. This effect suggests she is submerged and drawn into the hypnosis of the water. There is a moment where a second image of her appears at a different angle on the circle. She moves around the sphere to then replace her original image. A symbol of rebirth. This is influenced by Peter Campuses transition techniques where one image of himself replaces the other.

[rmilesmajorone2019]

Sound:

When listening to my own sound of the gravel, waves and wind, and found sound from underwater, I realized they have a very similar rumbling quality. I like how they indicate different spaces on the beach yet flow into one another, like expressions of the same thing. These sounds of the rumbling of stones, and the movement of water suggest something ‘bubbling’ beneath the surface, like the water has something to say, ready to submerge her consciousness. Through the sound I wanted to convey an environment with real, recognisable sounds yet with a hint of abnormality to convey a potential mystical force. I’ve done this through heightening rumbling sounds of the wind and underwater. It flows between diegetic and non-diegetic, as at time’s the sound I captured is synced with the action of walking, then momentarily is not. This slight abnormality illustrates movement between real and non-real spaces. 

In the P.O.V. clip where the water washes towards her I have inserted the underwater sound. Then it changes back to the wind again when we see her standing over the water. Combined with the change in colour grading to a blue tint, the underwater sound acts like a leitmotif, it’s heard every-time we are directed toward the sea to indicate a mystical sense and something brewing beneath its surface. It appears momentarily before she is seen in the water reflection, which plants the seed that the water will have its own powers and special characteristics.

For the flashback I have layered found sound of underwater and air bubbles underwater, to indicate struggling for breath. I’ve also sped these and increased the volume to indicate fast struggling movement. For the flash forward I’ve lowered the underwater sound, layered found sounds of fluid in ‘the womb’, breathing and a heartbeat. This composition creates a soundscape that’s more calming, slower paced and more soothing. Heartbeats tend to be used often therefore I was skeptical, however I found it intensifies the portrayal of a strong life force, which is a necessary differentiation from the previous sounds of being stuck underwater. I aimed to suggest a sense of being safe inside the womb. In these moments where she sees the womb she feels like she is in the womb herself, able to breath in fluid. Baby’s are unable to drown in the womb.

For the last two shots moonlight is shining out of her. Now out of the water, all water sounds disappear and you can only hear her breath and heartbeat. This portrays her at her full life force and power. She is radiating after facing her trauma and the potential of her future. The decrease in layers of sound make this climax more effective and commanding, with a focus on her sounds she is now the strongest force.

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I’ve worked with Matt to directly project down towards the bowl. The projector is screwed in to the ceiling. After assessing other areas including the corridor we found it would not be practical due to all the windows running down the hall and from the classroom and the unpredictability of the lights turning on when people walk down the hall.

As I have practiced with the bowl projection the image comes up faintly on the water. Though you can see the film well when it bounces off onto another surface. It is really interesting to watch the texture of water and light highlighting the ripples in the water gently distorting the film. The projector in this position means the reflection shows up on the ceiling. I have considered putting paper or board up there, however I don’t enjoy watching something directly on the ceiling. This would make the audience uncomfortable, straining their body. I want the experience to be pleasurable and more relaxing so you can fully enjoy the piece. This would also look very messy covering over the fire alarms and other large objects poking out the ceiling. Therefore, I have decided to position the projector facing downwards from a tall plinth, so that the image bounces on to the wall creating an intimate space where the spectator can engage with the piece. Light from the projector will highlight the edges of the bowl drawing attention to the double circle visual and to encourage you to further consider the way it is being projected, through water.

The studio is completely cleaned out of equipment, tables etc. with black material covering the shelves at the back. I will position the plinth so it doesn’t get in the way of the audience and tape down all leads etc. The speakers will be placed either side on the floor, directing towards the center where the bowl is, so the sound surrounds the audience.

[rmilesmajorone2019]

Pulse movement - editing technique

For my foetus photographs I’ve created a pulse-like movement with the opacity levels going up and down. This mimics the heart and indicates life force. It also is more fluid and cohesive along with the footage, rather than suddenly having static photographs. I’ve added a heartbeat sound, along with more soothing water noises supposedly like in the womb. Under this is a subtle breathing sound that becomes more prominent towards the end. This illustrates her life force becoming stronger. In the flashback where she is struggling under water she is loosing the ability to breath. This contrasts to the flash forward where the foetus is able to breath in liquid. She can breath fully again.

In the second flash forward of the baby. She begins to light up brighter. I used the same up and down motion on the exposure of the footage of her reflection as the pulse/heartbeat. This repetition subtly indicates the life force giving her power as she begins to light up brighter and brighter.

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Circle crop frame edit:

I’ve used circles over my footage which darken the rest of the screen. I edited the edge feather to create soft edges like a slight illumination of the circular moon shape. I have also edited a brighter version of the film to project on the day, in the dark and onto water.

Warm light and blue light edit:

I have also used colour balance and linearity colour settings to present her in a warmer light at the beginning so that when the blue toned lighting appears later there will be a change. I’ve increased the tones, exposure and other levels so the white light looks distinctly bright and blue toned to suggest shining moonlight. I needed to tone down the vibrancy of 2 very bright clips of the white rocks to create the contrast to the moon light that comes in later.

[rmilesmajorone2019]

Location for my installation

I booked out room 305 to test out my installation and for the 20th-21st. It was a good room because it has black out curtains and plenty of space for both mine and Lynn’s installations. However after setting up my installation for my tutorial on Monday, I realized I wouldn’t be able to secure the projector up high because we cannot drill into the ceiling in non-moving image rooms. I discussed with my tutor about fitting it in the hallway on top of metal bars that are below the ceiling. 

I booked a meeting with Matt Tuesday morning to discuss the practicalities and possibilities. While checking out the hallway some major limitations arose; blacking out all the windows and window doors to the class rooms, booking out the hallway space for an extended time, the hazard of a large water bowl, and getting to a power source. There were no plugs near by therefore i could’ve got an extension lead to one of the classrooms. However with all the natural light coming in and the unpredictability of the lights turning on when people used the corridor this is not an appropriate space. The projection onto water needs to be in darkness to see the image properly. I wouldn’t want the quality of my video to be sacrifice just for this space. 

Although i wanted to find a different space to where all the other installations are being done, the moving image studio would work the best because it can be complete darkness and we can nail into the ceiling. Matt has a holder that you drill into the projector and the ceiling or wall. It is very malleable so i can choose the angle and direction the projector is positioned at. A problem my tutor raised about the studio and workshop space is that they are cluttered with equipment and tables etc. I agree that it would nicer to have a more sleek space. I spoke to Matt about this and he agreed that we can clear out the room completely and potentially cover the shelves at the back with white material. I have booked in the space for the assessment and checked who else is interested in it. Ocean is the only person who has shown interest in the room so that will give more time for me to set up my installation. It will need to be set up before my assessment as it takes a long time with the water and fire bowl. I’ve also mentioned it takes even longer to dissemble because of decanter the water with containers bit by bit. So someone wont be able to go immediately after me. I think this space will definitely work the best once it is cleared out, dark and it gives plenty of time to set up. 

My tutor did suggest that I find somewhere near university to install. It cannot go outside because of the over head projection. It is also very difficult to get a space that your allowed to drill into the ceiling, with the studio I can access it whenever I want during the week and use the space as I please. Matt is going to drill in the structure and projector. He’ll then email me and I’ll come in again to test out the projector on the bowl and help move everything else out of the studio ready for the assessment next week.

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Rescheduling shoot and crew

My first shoot had to be rescheduled due to my actress becoming unavailable.

The photo above is from my rescheduled shoot today. I’ve found it’s very useful to have a car as it’s extremely cold in the evening. I’ve used the car as a dressing room for my actress to get changed in. It also means all the equipment is safe. I have brought sleeping bags, a spare coat and snow boots etc. for my actress and assistant to keep warm, aswel as food and water. The car also keeps us safe when we are outside at night time.

Today, due to safety issues I have rescheduled my shoot again. Despite previously scouting the location in the evening and checking forecasts, the weather is unpredictable. The wind and fog at Birling Gap were unfortunately too dangerous. After travelling there we went to Eastbourne beach to see if we could possibly shoot there, however it was too pedestrianised and didn’t have the impressiveness or the natural environment and cliffs that Birling Gap has. This was important to me so I rescheduled it again.

I have overcome these unforeseen changes by changing my plan. I am moving my installation practice forward. Before the Birling Gap shoot I am using the studio to test where I can position the projector and how to resemble the fire bowl with water. I will also start editing my footage from the studio shoot.

I have worked around my actor’s jobs to find time in the afternoon this week. It must be shot in the early evening so it is getting dark. I have also organised new people available to assist me.

Schedule:

We plan to leave at 2:30pm. Arrive at 3:30pm. Demonstrate how to use kit and set up. Then shoot from 4 - 6pm. The journey has been roughly an hour in the car. Or less with no traffic.

I have managed to get a friend who has a car to drive us there with the equipment, so we can use it as a dressing room etc. again. Ania will also be holding the lighting. I will pay her money for the petrol and car.

I am paying for train tickets for another friend Georgia to come to Brighton and do the sound.

I will be on the camera, whilst Olivia acts.

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Camera and lighting techniques:

I pointed the camera down and positioned it over the water as much as possible to capture her reflection, which was of course upside down. I am going to flip and crop this in editing.

For the lighting I gradually flickered an LED light over her face and the water, starting when the comforting foetus imagery appears. Where she can breath again after the flashback of struggling underwater. I then began to bleed the light across the lense, from inbetween the tripod legs so that it was coming from in front, centre of her, rather than the side. To mimick the moon on the water and eventually glowing out of her. Finding this technique throughout the filming process was really nice, as it encapsulates the glowing, blue tinted radiance of the moon and it looks beautiful flooding over the screen. It illustrates an ethereal, mystical transcendence of her being as the climax of the video.

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Studio shoot:

These photos of the studio shoot show discussion with and direction for the actress, setting up my equipment, taping down positions for equipment and actress and checking over the footage on a larger screen.

My approach: I described the visuals: flashback and flash forward she was seeing in the water. As I talked through the physical feelings; the claustrophobia of not being able to breath, stuck underwater, then transitioning into seeing a surprising fetus shape in the womb, as if she was the fetus being able to breath now in liquid in the safety and warmth of the womb. I described the floating, tingling feeling of her body shining towards the end where the moonlight fills the screen. My assistant that day is a trained actress (although not appropriate for the part), so I asked her to talk through that experience, as if being Olivia’s inner monologue. This definitely enhanced Olivia’s performance and made it easier for her to feel like this was really happening to her. It also helped me with her expressions being at a good pace. Structurally, she sees the flashback and flash forward for the first time, then repeats them once more as she processes the visions in her mind.

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I am putting black ink in the water to make it thicker and a more reflective surface. I have tested this out before and filmed it for my mock up video, so I know it works well. Using black instead of white powder paint makes it look more like water at night time.